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Tate Report 2010-11: List of Tate Archive Accessions
Tate Report 10–11 Tate Tate Report 10 –11 It is the exceptional generosity and vision If you would like to find out more about Published 2011 by of individuals, corporations and numerous how you can become involved and help order of the Tate Trustees by Tate private foundations and public-sector bodies support Tate, please contact us at: Publishing, a division of Tate Enterprises that has helped Tate to become what it is Ltd, Millbank, London SW1P 4RG today and enabled us to: Development Office www.tate.org.uk/publishing Tate Offer innovative, landmark exhibitions Millbank © Tate 2011 and Collection displays London SW1P 4RG ISBN 978-1-84976-044-7 Tel +44 (0)20 7887 4900 Develop imaginative learning programmes Fax +44 (0)20 7887 8738 A catalogue record for this book is available from the British Library Strengthen and extend the range of our American Patrons of Tate Collection, and conserve and care for it Every effort has been made to locate the 520 West 27 Street Unit 404 copyright owners of images included in New York, NY 10001 Advance innovative scholarship and research this report and to meet their requirements. USA The publishers apologise for any Tel +1 212 643 2818 Ensure that our galleries are accessible and omissions, which they will be pleased Fax +1 212 643 1001 continue to meet the needs of our visitors. to rectify at the earliest opportunity. Or visit us at Produced, written and edited by www.tate.org.uk/support Helen Beeckmans, Oliver Bennett, Lee Cheshire, Ruth Findlay, Masina Frost, Tate Directors serving in 2010-11 Celeste -
30 June, 7 Pm Press Preview: 30 June, 11 Pm Artist's Talk: 1 July, 3
Press Release Stateless A solo exhibition by Shimon Attie 1 July - 13 August 2017 Opening: 30 June, 7 pm Press preview: 30 June, 11 pm Artist’s talk: 1 July, 3 pm Kunstkraftwerk Leipzig is delighted to announce Stateless, the first German solo exhibition by NY-based artist Shimon Attie since he produced the celebrated project The Writing on the Wall in Berlin in the nineties. Stateless explores issues of flight, loss and belonging at a time when many immigrants are seeking refuge in Europe and are at risk of being banned from other parts of the Western world. Stateless also involves other communities, who lived, or are still living, in a situation of limbo, whether their predicament was caused by an ongoing conflict or the revocation of their citizenship and identity. Video still from the installation Stateless by Shimon Attie, 2017 Stateless is named after an installation in the exhibition, which tackles the experience of Syrian refugees who have fled their war-torn country and undertaken a life- threatening journey to Europe. More broadly, this artwork addresses the reality that human existence is subjected to the uncontrollable forces of life and death. In addition to the video installation, the exhibition also includes photographs from Attie's earlier projects. Facts on the Ground (2013-14) delves into the physical, political and psychological landscapes of Israel and Palestine, where the brokering of the two-state solution is still to be brokered. The Writing on The Wall (1991-92) evokes the daily life of the less affluent part of Berlin's Jewish community, those originating from Russia and Poland in the Scheunenviertel neighbourhood in East Berlin. -
PEN (Organization)
PEN (Organization): An Inventory of Its Records at the Harry Ransom Center Descriptive Summary Creator: PEN (Organization) Title: PEN (Organization) Records Dates: 1912-2008 (bulk 1926-1997) Extent: 352 document boxes, 5 card boxes (cb), 5 oversize boxes (osb) (153.29 linear feet), 4 oversize folders (osf) Abstract: The records of the London-based writers' organizations English PEN and PEN International, founded by Catharine Amy Dawson Scott in 1921, contain extensive correspondence with writer-members and other PEN centres around the world. Their records document campaigns, international congresses and other meetings, committees, finances, lectures and other programs, literary prizes awarded, membership, publications, and social events over several decades. Call Number: Manuscript Collection MS-03133 Language: The records are primarily written in English with sizeable amounts in French, German, and Spanish, and lesser amounts in numerous other languages. Non-English items are sometimes accompanied by translations. Note: The Ransom Center gratefully acknowledges the assistance of the National Endowment for the Humanities, which provided funds for the preservation, cataloging, and selective digitization of this collection. The PEN Digital Collection contains 3,500 images of newsletters, minutes, reports, scrapbooks, and ephemera selected from the PEN Records. An additional 900 images selected from the PEN Records and related Ransom Center collections now form five PEN Teaching Guides that highlight PEN's interactions with major political and historical trends across the twentieth century, exploring the organization's negotiation with questions surrounding free speech, political displacement, and human rights, and with global conflicts like World War II and the Cold War. Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. -
Jack Shainman Gallery
513 WEST 20TH STREET NEW YORK, NEW YORK 10011 TEL: 212.645.1701 FAX: 212.645.8316 JACK SHAINMAN GALLERY SHIMON ATTIE Born in 1957, Los Angeles, CA Lives and works in Brooklyn, NY EDUCATION 1991 MFA Degree, San Francisco State University, San Francisco, CA 1982 MA Degree, Antioch University, San Francisco, CA 1980 BA Degree, University of California, Berkeley, CA SELECTED ONE-ARTIST EXHIBITIONS 2019 Shimon Attie: The Crossing, Madison Museum of Contemporary Art, Madison, WI, April 20 – September 29, 2019. 2018 Night Watch, East River and Hudson River, New York, NY, presented by More Art, September 20 – 27, 2018. 2017 Shimon Attie: Stateless, Kunstkraftwerk (“Art Power Plant”), Leipzig, Germany, July 1 – August 13, 2017. Currents 113: Shimon Attie: Lost in Space (After Huck), St. Louis Art Museum, St. Louis, MO, April 1 – June 25, 2017. WWW.JACKSHAINMAN.COM [email protected] Shimon Attie: Selected Biography Page 2 New Media Series: Shimon Attie: The Crossing, St. Louis Art Museum, St. Louis, MO, March 24 – June 25, 2017. 2016 Shimon Attie: Facts on the Ground, Jack Shainman Gallery, New York, NY, April 28 – June 4, 2016. The Attraction of Onlookers: Aberfan – An Anatomy of Welsh Village, National Museum of Wales, Cardiff, United Kingdom, April 30 – September 4, 2016. 2013 Shimon Attie: MetroPALIS, Wexner Center for the Arts, Columbus, OH, May 4 – August 4, 2013. Shimon Attie: Sightings: The Ecology of an Art Museum, The 3.14 International Contemporary Art Foundation, Bergen, Norway, February 1 – March 24, 2013. 2012 – 2013 Shimon Attie: The Neighbor Next Door, The Block Museum of Art, Northwestern University, Evanston, IL, September 21, 2012 – March 24, 2013. -
Andy-Warhol-Ai-Weiwei-Exhibition
Paid Free Grollo Equiset Garden Persimmon NGV 7 8 Great Hall Members Lounge 6 5 9 Ticketing Federation Court 17 10 4 3 Exhibition 16 Entrance 2 11 18 12 15 ATM Clemenger Auditorium 14 1 13 NGV design store 19 Waterwall St Kilda Road Andy Warhol | Ai Weiwei 2 5 8 Andy Warhol | Ai Weiwei explores the influence Forever Bicycles, 2015 Silver Couds and Cow Wallpaper Flowers of two of the most consequential artists of The assembly and replication of almost Andy Warhol’s Silver Clouds were first Flowers in Western art history have the twentieth and twenty-first centuries on 1500 bicycles in Ai’s Forever Bicycles exhibited at Leo Castelli Gallery, New York, symbolised love, death, sexuality, nobility, modern art and contemporary life, focusing series, ongoing since 2003, promotes an in 1966, along with Cow Wallpaper in an sleep and transience. In Chinese culture on the parallels and intersections between intensely spectacular effect. ‘Forever’ is a adjacent gallery. Propelled by air currents, flowers also carry rich and auspicious their practices. Surveying the scope of both popular brand of mass-produced bicycles the floating pillow forms displace the symbolic meanings; from wealth and artists’ careers, the exhibition presents manufactured in China since the 1940s, a work of art from the walls of the gallery social status to beauty, reflection and more than 300 works, including major new type desired by Ai as a child, and also linked into space itself, creating an immersive enlightenment. The flower is a recurrent commissions, immersive installations and a to China’s early socialist society. -
Artist and Institution: a Painful Encounter
Fernanda Albuquerque Doris Salcedo Artist and institution: a painful encounter Quote: ALBUQUERQUE. Fernanda; SALCEDO, Doris. Artist and institution: a This interview was held at the artist’s Bogotá studio in painful encounter. Porto Arte: Revista de Artes Visuais. Porto Alegre: PPGAV- November 2013. It is part of the PhD thesis Artistic practices UFRGS, v. 22, n. 37, p.163-166, jul.-dez. 2017. ISSN 0103-7269 | e-ISSN 2179- 8001. DOI: http://dx.doi.org/10.22456/2179-8001.80123 oriented to context and criticism in the institutional sphere, developed at the PPGAV-UFRGS with Prof. Mônica Zielinsky as its advisor. ² Translated by Roberto Cataldo Costa Abstract: This interview is about the work process of Colombian Fernanda Albuquerque: artist Doris Salcedo regarding her work Shibboleth, developed How was the research process around Turbine Hall and Tate for Turbine Hall, at London’s Tate Modern (2007) as part of the Modern for proposing Shibboleth? Unilever Series. Keywords: Artist. Contemporary art. Context. Institution. Criti- Doris Salcedo: cism. Doris Salcedo. I get the impression that for the Western world, Tate is like Shibboleth is Colombian artist Doris Salcedo’s 2007 work the cultural heart of Europe. It is really a place that managed made for Turbine Hall – the grand entrance hall of London’s to become a public space in the deepest sense of the term. Tate Modern.¹ The work features a huge crack in the museum’s There people think and reflect on highly important aspects of gigantic lobby. A slit, a crack, a rupture, a cut, a fault. It is part of life. -
Thomas Bayrle
a ns la N ture. D da ans ue la iq m nt a e ss id e t , s n e o ’ n n p n l e u i s R . » « " " I . n e k t i h l e a r m e a v s e s, e li ar ke s in g n thin ature, no two The Laughing Cow® continues to prepare for PRESS its 100th anniversary in 2021 with a second collector’s edition box signed by artist KIT Thomas Bayrle. The Collector’s Edition Boxes: Sharing Contemporary Art The Laughing Cow® (La Vache qui rit®) each box as a work of contemporary art is more than a smile and good humor: by an internationally renowned artist. it’s an incredible story of innovation and creativity. That’s why, between now and By bringing contemporary art to the 2021, the company has planned an im- broadest audience possible in a way pressive series of collaborations with ma- that’s both original and offbeat, the Col- jor contemporary artists, each of whom lector’s Edition Box epitomizes the phi- will design a not-to-be-missed Collec- losophy of Lab’Bel, the artistic laborato- tor’s Edition Box. These collaborations ry of the Bel Group. continue the special rapport that has always existed between The Laughing Cow® and the artists who have used this modern icon as a source of inspiration for nearly a century. Each Collector’s Edition Box is an ori- ginal work of art in its own right, made available to thousands of consumers and The Laughing Cow® won collectors at the standard retail price. -
Room 10 Consuming Pop
Room 10 Consuming Pop 101 The relationship between art and consumer society is a thread that runs throughout pop art, and this final room deals directly with the lure and act of consumption. The risk that art itself might become a consumable product is mooted in some works here, but others proclaim the power of art to subvert and oppose the operations of global capitalism. Thomas Bayrle’s The Laughing Cow wallpaper makes the cheese company icon omnipresent and inescapable, while Boris Bućan’s series of brand logos transformed into ‘art’ reflect Yugoslavia’s transition to consumerist culture. Advertising always shows consumption as pleasurable. Many works here expose the coercion that backs it up, from the bars on the screen in Sanja Iveković’s video Sweet Violence , to the aggressively proffered American products in Keiichi Tanaami’s Commercial War animation. 102 Wall labels Clockwise from right of wall text Thomas Bayrle 1937 Born and works Germany The Laughing Cow (Blue) Wallpaper La Vache qui rit (blau) Tapete 1967/2015 Wallpaper, silkscreen on paper Courtesy the artist, Air de Paris and Groupe Bel, Paris X50880 32 103 Komar and Melamid Vitaly Komar 1943 Alexander Melamid 1945 Born Russia (former USSR), work USA Post Art No 1 (Warhol) Post Art No 2 (Lichtenstein) Post Art No 3 (Indiana) 1973 Oil paint on canvas Russian artists Komar and Melamid reappropriated canonical American works, copying them from reproductions in Lucy Lippard’s seminal book Pop Art (1966). Komar has explained: ‘The Post Art series is an apocalyptic vision of the future. The viewer can see famous works by Andy Warhol, Roy Lichtenstein, Robert Indiana and other pop artists as they might be after a nuclear war or a political or natural disaster. -
Prof Michael Turner 18.10.17
Wednesday 18 October 2017 Michael Turner UNESCO Chair in Urban Design and Conservation Studies Bezalel Academy of Arts and Design, Jerusalem 1945 - Why the conflict? • Utopias/visions • Values and interpretations • Generation gaps and changes • Competing interests • Process and project • Short-term / long-term • Lack of tools 1972 - Resolving/containing the conflict • Managing change • Accepting diversity • Sharing benefits • Participatory processes • Sustainable development • Inclusive, safe, resilient and sustainable Utopia Wikipedia Thomas More William Morris Ebenezer Howard Utopia News from Nowhere To-morrow: 1516 1890 A Peaceful Path to Real Reform 1898 Liverpool – 19th century Industrial visions Port Sunlight Village 1888 wikipedia wikipedia Pinterest Liverpool Museum Liverpool Liverpool utopias – 20th century Wavertree Garden Suburb Speke Estate Runcorn New Town 1910 1930 1964 Wikipedia http://www.liverpool-city-group.com/ Rebuilding post WWII - utopias Wars Socio-economic changes The devastation in Liverpool docks after the ammunition ship The Albert Dock fell into disuse in the 1970s, as shown in the 1975 'Malakand' blew up after catching fire on the night of 3rd May 1941. snap above. Part of the Albert Dock failed to be restored from the damage of the Liverpool Blitz 1941. Once welcoming ships into the port every day, the docks are derelict, with not a sign of life to be seen. A year later, the Albert Dock was a conservation area. Signature’s Liverpool - source: www.porterfolio.com World War II reconstruction East Europe - Warsaw -
Warhol and Contemporary America: 'Death and Disaster' Series
teachers’ notes 1 warhol and conteMporary aMerica: ‘Death anD Disaster’ series andy warhol Gallery of Modern art 8 December 2007 – 30 march 2008 www.Qag.Qld.gov.au/Warhol_education The ‘andy wARHOL’ exhibiTION HAS BEEN ORGANISED BY THE QUEENSLAND ART GALLERY AND THE ANDY WARHOL MUSEUM, ONE OF THE FOUR CARNEGIE MUSEUMS OF PITTSBURGH. FUNDING FOR INSURANCE HAS BEEN PROVIDED THROUGH THE QUEENSLAND GOVERNMENT EXHIBITION INDEMNITY SCHEME, ADMINISTERED BY ARTS QUEENSLAND. PrePared by access, education and regional services, Queensland art gallery / gallery of Modern art © Queensland art gallery 2007 / all andy Warhol art Works © the andy Warhol foundation for the visual arts inc. Stanley Place South Bank | www.qag.qld.gov.au | (07) 3840 7303 teachers’ notes 2 andy warhol and conteMporary aMerica: ‘Death anD Disaster’ warhol series ‘i Guess it was the biG plane this tour considers the way Warhol used repetition and the photographic crash picture, the front silkscreen technique in response to society and popular culture. Why did Warhol focus on images of death and disaster? how did his technique of paGe of a newspaper: 129 repetition relate to the volume and desensitisation of stories and depictions of die. i was also paintinG the fatalities in american culture at the time? how does this relate to today? Marilyns. i realized that Topics: everythinG i was doinG • issues of death and violence Must have been death. it • spectacle and celebrity was christMas or labor • media manipulation, propaganda and censorship • religion and mortality. day — a holiday — and every tiMe you turned on Subject areas: the radio they said • Film, television and new Media • English soMethinG like “four • Studies of society and the environment Million are GoinG to die”. -
Military History Anniversaries 16 Thru 31 August
Military History Anniversaries 16 thru 31 August Events in History over the next 15 day period that had U.S. military involvement or impacted in some way on U.S military operations or American interests Aug 16 1777 – American Revolution: Battle of Bennington » The Battle took place in Walloomsac, New York, about 10 miles from its namesake Bennington, Vermont. A rebel force of about 1,500 men, primarily New Hampshire and Massachusetts militiamen, led by General John Stark, and reinforced by Vermont militiamen led by Colonel Seth Warner and members of the Green Mountain Boys, decisively defeated a detachment of General John Burgoyne's army led by Lieutenant Colonel Friedrich Baum, and supported by additional men under Lieutenant Colonel Heinrich von Breymann at Walloomsac, New York. After a rain-caused standoff, Brigadier General John Stark's men enveloped Baum's position, taking many prisoners, and killing Baum. Reinforcements for both sides arrived as Stark and his men were mopping up, and the battle restarted, with Warner and Stark driving away Breymann's reinforcements with heavy casualties. The battle reduced Burgoyne's army in size by almost 1,000 troops, led his Indian support to largely abandon him, and deprived him of much-needed supplies, such as mounts for his cavalry regiments, draft animals and provisions; all factors that contributed to Burgoyne's eventual defeat at the Battle of Saratoga. Aug 16 1780 – American Revolution: Continentals routed at Battle of Camden SC » American General Horatio Gates suffers a humiliating defeat. Despite the fact that his men suffered from diarrhea on the night of 15 AUG, caused by their consumption of under-baked bread, Gates chose to engage the British on the morning of the 15th. -
2 3 4 8 5 6 7 Work
Link artMaking JANUARY 2005 NEWS FOR ALUMNI AND FRIENDS OF THE CLEVELAND INSTITUTE OF ART work MEDAL FOR CORBETT MASTERS ALUMNI OUTREACH ALUMNI NOTES FACULTY NOTES IN MEMORIAM SCHRECKENGOST TEACHING AWARD EXCELLENCE EMERGING ART TRAUSCH PRESENTS HELEN COLE NEW BOARD SMITH FOUNDATION CHALLENGE GRANT 2 3 FORM 4 5 6 7 8 “INSTANT CREATIVITY” ENDOWMENT MEMBERS FIRST WEDNESDAY DISCUSSION SERIES EXTENDED STUDIES FACULTY SHOW 2004 PROGRAM VISITING ARTISTS OFFER INSPIRATION AND ENERGY his fall, the Institute’s galleries, They also explored whether local commentary on the absence of health Tauditoriums and neighborhood “ethnic” arts and cultures can survive care for millions of Americans. Pope.L streets were filled with a high-pitched in a homogenized, global marketplace. uses his crawls to bring art out of the level of energy, inspiration and experi- Featured speaker, George Ritzer gallery and actively involve the com- mentation as a broad spectrum of cautioned participants that the munity in his work, often employing visiting artists presented a host of McDonalds’ model permeates every humor to connect with his audience. thought-provoking concepts. Shimon aspect of our daily lives and in the Pope.L, an African American, has Attie, William Pope.L, Stelarc, Hristina push toward globalization there is a staged nearly 50 crawls as part of Ivanoska, and Mel Chin are but a few great need to protect indigenous his “eRacism” project. He created a of the internationally acclaimed artists culture. Keynote speaker Mel Chin four-part crawl up Broadway, which who brought inspiration. They were captivated students as he discussed he dubbed “The Great White Way,” joined by scholars that included James his site-specific works and how he to coincide with the 2002 Whitney Elkins, author of Why Art Can’t Be injects art into unlikely places, includ- Biennial.